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Second International Congress of Art History Students Proceedings ! SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&&'" !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) (*%+,)%-$ #,-)* Jelena Behaim, Kristina Brodarić, Lucija Bužančić, Ivan Ferenčak, Jelena Mićić, Irena Ravlić, Eva Žile )(.%(/()& Tanja Trška, Maja Zeman (*%+%01 -0* !),,2)(-*%01 Ivana Bodul, Kristina Đurić, Petra Fabijanić, Ana Kokolić, Tatjana Rakuljić, Jasna Subašić, Petra Šlosel, Martin Vajda, Ira Volarević *(&%10 + $-3,"+ Teo Drempetić Čonkić (oprema čonkić#) The Proceedings were published with the financial support from the Faculty of Humanities and Social Sciences in Zagreb. SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) %&#* 978-953-56930-2-4 Zagreb, 2014 ƌ TABLE OF CONTENTS ! PREFACE " IS THERE STILL HOPE FOR THE SOUL OF RAYMOND DIOCRÈS? THE LEGEND OF THE THREE LIVING AND THREE DEAD IN THE TRÈS RICHES HEURES — )*+,- .,/.0-12 #" THE FORGOTTEN MACCHINA D’ALTARE IN THE CHURCH LADY OF THE ANGELS IN VELI LOŠINJ — 3*/+, 45*6),7 $% GETTING UNDER THE SURFACE " NEW INSIGHTS ON BRUEGEL’S THE ASS AT SCHOOL — 8*69/* +*906 &' THE FORMER HIGH ALTAR FROM THE MARIBOR CATHEDRAL — -*706:16* 5*-71; (% EVOCATION OF ANTIQUITY IN LATE NINETEENTH CENTURY ART: THE TOILETTE OF AN ATHENIAN WOMAN BY VLAHO BUKOVAC — *6* 8*3*/9<12 %& A TURKISH PAINTER IN VERSAILLES: JEAN#ÉTIENNE LIOTARD AND HIS PRESUMED PORTRAIT OF MARIE!ADÉLAÏDE OF FRANCE DRESSED IN TURKISH COSTUME — =,)*6* *6.07+,-12 ># IRONY AND IMITATION IN GERMAN ROMANTICISM: MONK BY THE SEA, C.$D. FRIEDRICH — 31706* @7;*/ >" ORIENTALIST ART OF %&TH CENTURY AND ITS OTHERS — 4507* A/,407) '! THE PÈRE#LACHAISE CEMETERY, ITS ORIGIN, APPEARANCE AND HERITAGE — 1819,/* 8:*6+,-12 !> VIENNA’S NEW DEVELOPMENT PLAN: THE STRUGGLE BETWEEN THE OLD AND THE NEW — 317*6 4@4*+ "$ CIVIL ENGINEERING AND URBANISM OF INĐIJA (FROM THE LATE %&TH TO THE MID#)*TH CENTURY+ — 317+* B16*12 #?? THE ARCHITECTURE OF KISHINEV FROM THE RUSSIAN EMPIRE PERIOD: AB OVO AD ABSURDUM — 8,C1* 7,-/12 ##$ THE FUTURE OF THE ZAGREB SLAUGHTERHOUSE: TRANSFORMING THE ABATTOIR COMPOUNDS FOLLOWING THE INTERNATIONAL MODELS — 916+, 9@*6;12, 51* 8,5:* #$? JOSIP VANIŠTA " HIS PEDAGOGICAL WORK AND CONTRIBUTIONS TO THE ZAGREB FACULTY OF ARCHITECTURE — *69/0* ;0+, #$> MUSEUM ).* " FROM THE CONCEPT TO THE APPLICATION IN THE WORK ENVIRONMENT — 170*6* +@/:,-12 #&> HOW POLITICS IS WORN AND SEWN: SERBIAN GOVERNESSES AS FASHION ICONS OF THE %&TH CENTURY — ),-*6* 61+,712 #(! THE ROLE OF FEDERICO FELLINI’S CARICATURES AND DRAWINGS IN HIS FILMMAKING — :*6)* .,/.0-12 #%> ALFRED HITCHCOCK AND SALVADOR DALÍ " BOND BETWEEN TWO ARTS — 31706* A6)*:,-12 #>% VARIOUS TYPES OF HERITAGE IN QUENTIN TARANTINO’S PULP FICTION — 3*/1)* 3*/+,-12, =,)*6* :/0=,-*D #'$ THE SCENE OF THEATRE POLITICS: ARCHITECTURE IN THE SERVICE OF NAZI AND SOVIET PROPAGANDA ON THE %&,- WORLD FAIR — :*3*/* =17)3*6 #'" NEUE SLOWENISCHE KUNST (NSK+: THE STRUCTURE, IDEA AND WORK OF THE MOVEMENT — 61+,7* 3*/16+,-12 #!% MIĆA POPOVIĆ AS A DISSIDENT ARTIST? — 916* 90=07)*+ #"$ MEDIEVAL SETTLEMENT AND COUNTRYSIDE ORGANIZATION IN MORVAN AND AUTUNOIS (FRANCE, BURGUNDY, /TH"%0TH C.+ — -*706:16 DE0-*88@ $?$ CONSTRUCTING THE BALKANS IN MARINA ABRAMOVIĆ’S PERFORMANCE PRACTICE — *6* =,A9*6,-12 1234563 The Second International Congress of Art problems presented in this volume will History Students was held from 23rd until provide our readers with interesting read- 27th of April 2013 at the Faculty of Humani- ing material. ties and Social Sciences in Zagreb. Concei- The realization of these Proceedings ved as a meeting of students of art history was made possible through the generous and related disciplines, the Congress con- support of the Faculty of Humanities and So- firmed its international character through cial Sciences of the University of Zagreb. We the participation of students from Croatia, would like to express our sincere gratitude to Bosnia and Herzegovina, Slovenia, Serbia, numerous individuals involved in the reali- Germany and France. zation of the Congress and its proceedings: During the four-day program of the Con- Josipa Alviž, Sanja Cvetnić, Franko Ćorić, gress, thirty five presentations were held in Dragan Damjanović, Teo Drempetić Čonkić, form of fifteen-minute lectures. Papers were Jasna Galjer, Ivan Josipović, Josipa Lulić, moderated by scholars from the Department Irena Kraševac, Lovorka Magaš Bilandžić, of Art History and the Department of His- Predrag Marković, Petar Prelog, Daniel tory, University of Zagreb, and the Institute Premerl, Danijel Rafaelić, Marko Špikić, of Art History in Zagreb. In addition to stu- Ana Šverko, Ivana Tomas, Tanja Trška, Tin dent papers, there were four guest lectures Turković, Maja Zeman. given by Professor Stanko Kokole (University of Ljubljana), !" students from University of Organizing Committee of the Second Franche-Comté, and two doctoral candidates, International Congress of Art History Tobias Strahl (University of Dresden) and Students and editors of the Proceedings Ana Bogdanović (University of Belgrade). Jelena Behaim The Proceedings of the Second Inter- Kristina Brodarić national Congress of Art History Students Lucija Bužančić contain all submitted papers presented at Ivan Ferenčak the Congress, including contributions of our Jelena Mićić guest lecturers. We are confident that the di- Irena Ravlić versity of discussed topics and art historical Eva Žile !"#$%& '%(")%*('$%*+ #$%,)"!! $- 23!"–27#$ %&!'( 2013, %!# $')#*!+ )#,"-.#)' %))*/'%#'*. *0 #$- 0%/,(#+ *)( .'!($)/ !(0&"%(! 1)$#""&'%,! *0 $,1%.'#'-) %." )*/'%( )/'-./-), ,.'2-!)'#+ *0 3%4!-5 !"#$% &$'&(%)* !"#$%&' (! )*+%(,()*', $-+./0,+&' (! 1/%20"3/ IS THERE STILL HOPE FOR THE SOUL OF RAYMOND DIOCRÈS? THE LEGEND OF THE THREE LIVING AND THREE DEAD IN THE TRÈS RICHES HEURES This paper discusses possible mean- in the complex pictorial narrative of ings that lie behind one illuminat- the story of Raymond Diocrès and St. ed page in the Très Riches Heures. Bruno, a new interpretation can be re- Through understanding the purpose vealed. Instead of the harsh didactic of a small image of the Legend of the memento mori message, hope emerg- Three Living and Three Dead inserted es from the macabre representations. 4/'5(03, 6 macabre, Office of the Dead, Raymond Diocrès, Three Living and Three Dead, Très Riches Heures 10 !"#$% &$'&(%)* !" #$%&% "#!'' $()% *(& #$% "(+' (* &,-.(/0 0!(1&2"? #$% '%3%/0 (* #$% #$&%% '!4!/3 ,/0 #$&%% 0%,0 !/ #$% TRÈS RICHES HEURES INTRODUCTION the saint founded the Carthusian To understand the medieval illuminated page monastery where he spent the rest means to track down the wandering gaze of of his life with a few followers. The its original viewer. Many layers of meaning complete story was inscribed and with di5erent messages could be discerned richly illuminated in the Belle Heu- by the skilful eye in a single page of manu- res for the illustrious John, Duke script. A certain kind of di!culty in acquir- of Berry, who was an important ing knowledge was expected by the medieval benefactor of the monastery.3 The reader/viewer while he was leafing through same tale was illustrated in an- the illustrated book. However, the process it- other one of duke’s manuscripts – self was enjoyable and thrilling.1 If we tried to the Très Riches Heures (Fig. 1). He reduce this remarkable experience to a sim- employed the Limbourg brothers ple reading of the pictorial narrative, as basic for the task, but due to their death, iconography most often suggests, we would the luxurious devotional book re- be misled.2 This paper will try to attest this mained unfinished along with the statement through careful examination of a illuminated story of Raymond Di- single illuminated page which was part of ocrès. After a few generations the the O6ce of the Dead in the celebrated Très inheritor of the Très Riches Heures, Riches Heures. Charles !, Duke of Savoy, gave the opportunity to complete the task to Jean Colombe.4 INTERRUPTION OF THE STORY However, there is a significant According to legend, during the funeral of di5erence between the two illus- the prominent Parisian professor Raymond trations of the legend. In the Bell Diocrès, the corpse of the deceased came Heures the story is spread indepen- back to life and announced that he had been dently over a few pages of the man- condemned by the just judgment of God. uscript. On the other hand, in the This stupefying event deeply moved his Très Riches Heures the tale is shown disciple St. Bruno, urging him to find salva- Fig. 1 |"The Funeral of Raymond Diocrès on a single leaf as part of a bigger tion in the eremitical traditions. In the end, whole – the O6ce of the Dead. The 11 !"#$% &$'&(%)* !" #$%&% "#!'' $()% *(& #$% "(+' (* &,-.(/0 0!(1&2"? #$% '%3%/0 (* #$% #$&%% '!4!/3 ,/0 #$&%% 0%,0 !/ #$% TRÈS RICHES HEURES Without it, the imbalance would become intolerable, and there would be certain con- sequences. This concept lay at the core of many popular beliefs and stories that in- volved the dead interfering with the a5airs of the living, and it survived during the whole medieval period, ever adjusting to the society.7 According to Jean-Claude Shmidtt, a dead person in a Christian society “could provide no greater service than to invite a Fig. 2 |!The Three Living and Three Dead (detail) In order to understand the true meanings living person to prepare for death.”8 Can we and messages that lie behind this illumi- perceive this service as a kind of gift? If we main miniature represents Diocrès’s funeral, nated page, the little miniature in bas-de- can, the proper counter-gift would be prayer while the surrounding roundels tell the com- page should be taken into account not as for the salvation of the dead man’s soul. This plete narrative through di5erent episodes an independent depiction, but as a small is the precise situation found in the story of concerning St. Bruno and his unfortunate piece of a larger whole, an equal part of the the Three Living and Three Dead – the no- precursor.
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